Ceiling from a Domestic Room, Spanish, Cathy Walsh, Independent
I didn't procrastinate this year, but by the time I picked my artwork, there were only a few-ahem- challenging pieces left. This one looked the hardest-so naturally it was mine! As I write this in November, I have NO IDEA which direction I'm going to go in with the flowers-perhaps something graphic and abstract, or a tightly focused detail, but either way I hope you will—look up!

Sarcophagus, French, Virginia Camille Orlando, Independent
What inspired me to select this piece is the mystery and intrigue that a sarcophagus has. The sarcophagus has been used by many cultures to bury the dead; decomposing the flesh of the corpse within it, much like how flowers decompose over time. I find it interesting to interpret something seemingly so macabre, heavy and sharp, with flowers full of beauty, softness and light.

Hygieia, Antioch, Joan R. Moreschi, Shrewsbury Garden Club
I was attracted to this piece with its simple elegant lines. Looking at it, your eye is captured by the folds of her robe, yet they are portrayed by a cold medium. I wanted to recreate the lines and beauty with a flower that seems as cold and unbending as the marble, and use a few stems that are without flowers, as she has lost some of her parts.

Frieze of Buddhist Figures, India, Elizabeth Call, Stow Garden Club
The strength of the architectural Frieze with the many Buddhist figures intrigued my sense of interest in heavenly symbols and legends. With such a diversity of figures shown, I thought it would be a challenge, but fun, to interpret and create a multicolored floral and fruit design depicting the offerings given to Buddha.

Model of Granary, Latter Han Dynasty, Thelma H. Shoneman, Acton Garden Club
I chose the Model of Granary because I am fascinated by the models created by the Chinese in preparation for building permanent structures. I also enjoy designing in the oriental manner and arranging with green flowers and foliages of contrasting shapes and textures. The simplicity of the Model has inspired me to create a design in the oriental manner using foliage manipulation techniques to create lines and enhance texture in the arrangement.

Boulder with Mountain Landcape and Taoist Sage, Chinese, Meghan E. Harris, Piscataqua Garden Club
I chose this piece for the serenity it evokes. I like the playfulness in the taoist sage's face,—almost telling us not to take things too seriously! Like flower arranging! Have fun with it and create something you think is beautiful.

Head of Mentuhotep III, Egyptian, Brandy Scheibner, Independent
I was drawn to the three-dimensional aspect of this limestone sculpture. I have never interpreted this type of art before so I thought I would challenge myself.

Storage Jar (Amphora), Greek, Mary Fletcher, Worcester Garden Club
It is the shape of the storage jar that appealed to me. The softness of a curving line and a rounded shape have always struck me as beautiful. The challenge was to do something interesting with the simplicity of color and the straightforward, uncomplicated design that still carried the weight and significance of the Greek Amphora.

Second Floor

Reclining Nude, Kees van Dongen, Susan B. Dewey, Worcester Garden Club, Osterville Garden Club
When I am choosing a work of art to interpret with flowers, I always look for clearly defined lines and textures, a strong emotional impact, and a color palette that can be interpreted with plant material. This painting did all that for me in an instant. I have chosen flowers and a design that I hope embody the painting's luscious satiny hues and the bold sensual contentment of Van Dongen's Reclining Nude.

Water Lilies, Claude Monet, Sarah Ribeiro, Worcester Garden Club
Impressionist paintings fascinate me in how the artist saw color and light and transferred it to his canvas. For Monet, it was all about capturing the light and atmosphere at the very moment he was painting. Light, not the water lilies, is the subject of this painting. In Water Lilies, the viewer senses calm, peaceful, and dream-like still water. The challenge of interpreting Monet's painting will be to recreate some of the feelings apparent in his painting. Monet once said, I perhaps owe having become a painter to flowers, so how perfect is it to have the Monet back in the gallery and a part of Flora in Winter.

Still Life: A Dead Hare, A Dead Red-legged Partridge, and Two Dead Snipe, Jean-Baptiste Oudry, Robin Whitney, Worcester Garden Club
The strong vertical line of the painting attracted me—as well as the very similar color palette of the birds and animals depicted seemed a fun challenge. Also, due to the design of the painting, it seems to me that the container can be hidden. Choosing the right container is one of the hardest parts!

Card Players and Merrymakers, Jacob Duck, Lois Frampton/Barbara Heim, The Garden Club of Harvard, Lincoln Garden Club
This highly symbolic painting by the Dutch artist Jacob Duck includes representations of deception, extravagance, transience, licentiousness, and each of the five senses. We have incorporated many of these same symbols into our arrangement. Look to see if you can find them all.

Paris and Oenone, Pieter Lastman, Kae Collins, Independent
What caught my eye is the abundance of character the painting has: the curving lines of the foliage; the quizzical look on the faces of the goats; and the fact that Paris looks vaguely guilty as if he is not entirely sure he should be groping the nymph.

Interior of the Choir at Saint Bavo's Church at Haarlem, Pieter Saenredam, Tia Lotuff, Worcester Garden Club
When I first saw this painting, I was immediately struck by two things: the luminosity that projected from the church's interior; the other was the very graphic and clean feeling of a painting done almost 350 years ago. I hope my arrangement will evoke some of the same feelings for its viewers.

Venus and Cupid, Cornelis van Haarlem, Deborah Coleman/Ruth Gorman/Jackie Potenzone, Hopkinton Garden Club
The colors and luminescence of the artwork captivate our imagination. The contrasting colors in their skin tones represent the innocent and experienced in love. It appeals to our feminine side! We are excited to have the chance to interpret this lovely painting.

Victory of Virtue over Vice, Giovanni de Bologna, Sally E. Jablonski, Independent
I always choose a work of art that speaks to me. Virtue over Vice, an epic story, is as timely today as it was yesterday. I chose to interpret this sculpture with intertwining Calla Lilies and Black Magic Roses to portray the struggle this piece of art represents.

A Miracle of Saint Silvester, Francesco Pesellino, Nancy A. Roberts, Independent
Arrangers are asked to choose a work of art via lottery in early November! Then we are asked to write our intentions for the piece, why we chose it and what we hope to accomplish in the end! Last year I had the Procrastinator's Choice because I waited too long and got what was left. And it was fun! I did not wait so long this year, yet feel the same. I have no idea what I will do, but I want it to be fun once again. As someone who loves art and working with flowers and NOT in that order, I did not choose this because it is a fascinating piece, but I liked the lines, colors and perspective feeling it evokes. My wish is that it makes you stop and examine carefully. And where I have missed it, may your own creative mind and imagination fill in the blanks!

Third Floor

The Meeting of Tobias and Raguel, Cristóbal de Villalpando, Beverly McClure, Independent
My intent is to communicate with flowers and foliage the emotional tension of the embrace with Tobias. I am going to try to keep the floral composition from becoming too busy and to focus primarily on the embrace.

The Alban Hills, George Inness, Kathy Michie, Worcester Garden Club
The newly painted and re-hung American Galleries are what stirred me. I think of the Chase, the Benson and the Homers as being on vacation for a little while, and these amazing landscapes are doing their work. Picking which ones to hang here must have been a tough choice for William Rudolph and his team. Selecting one for Flora in Winter seemed impossible, but the Inness has won my heart.

Traveling, Arthur G. Dove, Kim Cutler, Worcester Garden Club
I chose Arthur Dove's Traveling because it presented me with two challenges: a horizontal format and subdued natural colors. The layered planes of deep blue, brown, tan and grey go back in space and indicate a subtle movement left to right. I hope to bring this nighttime voyage to life.

Mrs. Francis Welch (Margaret Crease Stackpole), Gilbert Stuart, Ken Bositis, Independent
I have always loved the American Decorative Arts gallery and chose this painting for its location. I also feel it will be a challenge to interpret the Gilbert Stuart because the colors are fairly muted except for the brilliant red shawl.

Fourth Floor

Twin Lights, Purple Rocks, John Sloan, Andrea N. Driscoll, Independent
John Sloan was one of the first American painters I grew to admire as a teenager. His vivid use of color and slashes of energy epitomize what I know of many beaches. Nature's raw beauty and appeal never die and this painting borders on the abstract, allowing us in to the scene in all its glory. I hope that my interpretation honors his skill.

Animal Head, Mexico, Michele Creamer/Sandra Tosches, Greenleaf Garden Club of Milford
Seeing this piece provoked a strong physical reaction. Then arose many questions about its purpose. What was the motivation behind the creation of this fearful visage? Was it to ward off the beast itself, invoke its power, protect the owner, intimidate others, appease the gods? The questions remain, but the challenge to interpret the powerful force of this ceramic head in plant material begins. We feel this is as strong a challenge as the piece itself.